C. DEBUSSY: CHILDRENS CORNER / Elisey Mysin 

C. DEBUSSY: CHILDRENS CORNER / Elysey Mysin
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C. DEBUSSY: CHILDRENS CORNER
00:00 Doctor Gradus ad Parnassum
02:31 Jimbo's Lullaby
06:49 Serenade doll
09:08 The Snow is Dancing
12:11 Little shepherd
14:15 Golliwogg's Cakewalk
🎹 Elisey Mysin, student of the Central Music School at the Moscow State Tchaikovsky Conservatory
🎹 Teacher: Honored Artist of Russia, Professor of the Moscow State Conservatory. P.I. Tchaikovsky N.V. Trull.
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1. Doctor Gradus ad Parnassum
The title of the first movement alludes to sets of piano exercises of that name (Gradus ad Parnassum translates as "Steps to Parnassus"), several of which had been published in the eighteenth and nineteenth centuries, including one by the prolific publisher of piano exercises Carl Czerny. This piece is a rather ingenious study in finger independence with a twentieth century vocabulary. In the middle, the pianist slows down and tries the material in other keys for exercise. Debussy's "Doctor Gradus Ad Parnassum" is of intermediate difficulty and requires experienced fingers. Debussy told his publisher that the movement should be played "very early in the morning".
2. Jimbo's Lullaby
This work describes an elephant, Jumbo, who came from the French Sudan and lived briefly in the Jardin des plantes in Paris around the time of Debussy's birth. The misspelling "Jimbo" betrays the Parisian accent which often confuses the pronunciation of "um" and "un" with "im" and "in". It is a beautiful lullaby with some dark moments and whole-tone passages in the middle.
3. Serenade for the Doll
This piece, in triple meter, is marked Allegretto ma non troppo (moderately fast, but not too fast). It is a description of a porcelain doll and features the Chinese pentatonic scale throughout. Debussy notes that the entire piece should be played with the soft pedal.
4. The Snow Is Dancing
Technically, this piece is quite difficult as it requires precise semi-detached playing in both hands with the melody between them. Again, there are darker moments in the bass near the middle.
5. The Little Shepherd
"The Little Shepherd" depicts a shepherd with his flute. There are three solos and three commentaries following them. The first solo has a breath mark at the end. This piece has different modes in it and uses dissonances which resolve into tonality.
6. Golliwogg's Cakewalk
At the time of its composition, Golliwoggs were in fashion, due partly to the popularity at that time of the novels of Florence Kate Upton ("golliwog" is a later usage). They were stuffed black dolls with red pants, red bow ties and wild hair, somewhat reminiscent of the blackface minstrels of the time. The cakewalk was a dance or a strut, and the dancer with the most elaborate steps won a cake ("took the cake"). The piece is a ragtime with its syncopations and banjo-like effects. The dynamic range is quite large and very effective.
During the piece, Debussy alludes satirically to Richard Wagner's opera Tristan und Isolde. The opening bars turn the famous half-diminished Tristan chord into a jaunty, syncopated arpeggio, [4] while the middle 'B' section of this dance is interrupted on several occasions by the love-death leitmotif, marked avec une grande émotion (with great feeling). Each quotation is followed by banjo imitations.
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